A READING ATTEMPT ON TRADITION AND MUSIC

How concepts with a layered structure accumulate and become a conceptual stack is directly related to the extent to which the levels of relationship between the newly created concepts and customs are not questioned. This is because the essence can sometimes be in the center of the field where the concept points, sometimes near it and sometimes far from it. If these distances are overlooked, there will be no restrictions preventing the creation of new concepts, different concepts will be derived from different angles addressing the same basis, and researchers will have to carry these stacks at the tip of their pens. While examining a relationship with tradition, it is necessary to take a look at the elbow rooms of the concepts of “traditional,” “invented tradition” and “traditionalism.” This is because it is possible to see the reasons for the formation of stacks in this perimeter. The distance formed between the concepts also prepare the ground for the formation of new concepts. This is because the distance between the concepts is widening day after date as in the case of an artist and an artisan. As a result of the mountains of concepts formed due to such reasons, today, there is a bottleneck in the theoretical field at the current point. In order to eliminate this bottleneck, it is, again, necessary to look at the relationship between the concepts and tradition and between the “tradition” and music. At this point, it has become important that the concepts continue their journeys by being discussed and connected to the tradition/to something with tradition. Otherwise, as in musical note versions in music, a mass accumulation arising from diversity and a rhetorical crisis from the accumulation become inevitable. In this article, the relationship between tradition and music will be evaluated through various examples. A reading will be presented on the basis of what causes rhetorical crises and theoretical bottlenecks